“Every film is a foreign film, foreign to some audience somewhere – and not simply on terms of language. Subtitles are only the most charged visual markers of the way in which films engage in direct and oblique fashion, pressing matters of otherness, difference and translation”
– Atom Egoyan and Ian Balfour, Subtitles: On the Foreignness of Film
Working across the exhibition and distribution sectors as well as in subtitling, Day for Night is uniquely positioned with an in-depth understanding of the contexts of film production, distribution and exhibition. We are a boutique style subtitling company, and along with our strong appreciation of and sensibility towards moving image culture, we offer unparalleled expertise in subtitling and screen translation covering 45 languages.
We offer competitive rates and swift turnaround times, thanks to our vast network of +250 highly experienced translators and subtitlers based in the UK and around the world. Many of our contributors have worked regularly with Day for Night Founder, Sonali Joshi, for over 15 years, all with a strong background in film as well as linguistics. We work with Spot Subtitling Software, which we consider the best industry standard software for subtitling and screen translation.
As a boutique subtitling company, our professional approach is to be enthusiastic, dedicated and meticulous, while keeping abreast of all the latest industry news and technological advances in the ever-burgeoning digital environment, to constantly develop and advance our subtitling practice. Our central aim is to make visual content widely accessible through language transfer and subtitles for the hard-of-hearing – paying the closest attention to cultural contexts and nuances, remaining sensitive to audiences, rendering content accurately and succinctly, understanding and respecting filmmaker’s intentions, and ultimately enhancing viewing experiences. We firmly believe that visual content should be made accessible to audiences in its best possible form, and to do so this requires the highest standards of subtitles, both from technical and linguistic perspectives.
We work on wide-ranging content for theatrical releases and screenings, live cinema, DVD, Bluray, online and digital, TV, surtitles, and text, with a particular emphasis on film and visual arts.
* narrative fiction
* bonus features
* classical and contemporary music
* artist film & video
* gallery & museum installations
* exhibition guides
* factual programming
* reality TV
* episodic programmes
* children’s TV
* language learning
* academic texts
* combined continuity & spotting lists / scripts
* sleeve notes
* productions notes / presskits
* festival catalogues / programme notes
* architecture & design
* arts & humanities
* current affairs, law & politics
* human rights
We’re passionate about cinema and passionate about subtitles. For us, subtitles are the best way to present windows on other cultures, languages, societies, and ideas through visual content, offering opportunities for greater cross-cultural understanding and expression. We therefore view subtitling as an integral element of the production and reception of films.
We are also active proponents of the use of subtitling as an educational tool, and an aspect of film literacy. It’s perhaps no surprise that an apparent correlation between a high fluency level of English as a foreign language in countries with strong traditions of subtitling exists, namely the Scandinavian countries. Day for Night Founder Sonali Joshi clearly recalls being introduced to subtitled films at school and the impact that had on her:
“My first real introduction to subtitled films came at the age of about 13 at school, being shown the classic film about childhood, François Truffaut’s L’Argent de poche in a French lesson. This opened up a whole new world for me, following a path into film and modern languages, and ultimately led to my PhD research on many films by Truffaut and other prominent French New Wave filmmakers, stars and audience reception. It was therefore inevitable that subtitling films would become a key area of my career.”
Our sensibility towards cinema and the moving image strongly informs our approach to subtitling. As such, we have developed a strict code of subtitling with the key aims of:
* celebrating accessibility and diversity in moving image culture
* presenting windows on other cultures, societies and ideas through accessible content
* making films more accessible to international audiences
* making films more accessible to deaf and hard-of-hearing audiences
* making films more accessible to younger audiences
* enhancing a film, enabling it to be presented in its best possible form
* respecting the author’s intention and style, cultural contexts and nuances
* making subtitles as unobtrusive as possible, such that they should blend into a film seamlessly
* regarding subtitles as an integral element of a film
* promoting subtitling as an educational tool for foreign language learning and film literacy
We actively promote the concept of drawing subtitling into the filmmaking process, and as such, every year we select up to three films which we strongly believe in and wish to support by offering pro bono subtitling directly to filmmakers, primarily for the purposes of reaching international audiences at film festivals.